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THEORY 



OF 



SILK WEAVING 



THEORY 



OF 



SILK WEAVING 



A TREATISE ON THE CONSTRUCTION AND APPLICATION 

OF WEAVES, AND THE DECOMPOSITION AND 

CALCULATION OF SILK FABRICS. 



Containing 95 F*lates Printed in Colors, 



BY 



■ / 

ARNOLD WOLFENSBERGER 

Graduate of the Textile Institute of Zurich, Switzerland. 




>J04^^.,.^V^^ 



NEW YORK 

THE AMERICAN SILK JOURNAL CO. 

Publishers, 
160 Fifth Avenue 

1896 






Copyright, 1895, by ARNOLD WOLFENSBERGER. 

ALL RIGHTS RESERVED. 



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Liouis Weiss & Co., Printers, 116 Fulton St., New York. 



PREFACB. 



THE Silk industry of America has of late years rapidly 
advanced towards the front rank among the great 
competitors of the time. It may indeed be proud of this 
position, to which that enterprising spirit and untiring 
energy peculiar to our nation, combined with our great 
technical and natural resources, has brought it. 

That we are, on the other hand, not yet at the height of 
perfection we are also compelled to acknowledge, but if we 
consider the short space of time that the American in- 
dustry has required for its development, as compared to the 
decades, almost centuries, to which some of the great Euro- 
pean silk centres can look back, the fact is neither surprising 
nor discouraging. 

While it must not be our aim to imitate or copy their 
ways, inasmuch as our conditions and circumstances are 
quite different from theirs, we may still profitably study 
their methods in order to overcome our deficiencies. 

The greatest advantage which our competitors derive 
from such a long existence consists in having at their dis- 
posal a force of skilful, trained help. The manufacturers, 
appreciating the importance of this factor, make great efforts 
and pecuniary sacrifices to elevate and maintain the high 
standard of their industry. 

For instance, they support textile schools and lecture 
courses, where young men can acquire a thorough technical 
education and equip themselves for a career of usefulness, 
thereby serving their own interests and at the same time 
furthering those of their chosen profession. 



— 6 — 

This beneficial influence cannot fail to exert itself from 
the standard of the higher employer down to that of the 
weaver, who would naturally take more pains and interest 
in his work, than if he were a mere mechanical appendage 
to his loom in order to keep it in motion. 

Very little has been done in this country for technical 
education as far as the silk industry is concerned, and it 
was this circumstance, as well as the absence of technical 
literature on this special branch, that prompted the author 
to offer in the present little work a treatise on the theory 
of shaft weaving. 

It is divided into three principal parts : 

1st. Drawiiig'-in the warp in the harness. 
2nd. The weaves and their application. 
3rd. Decomposition or analysis of the cloth. 

The subject, while condensed, is made as clear and com- 
prehensible as possible, and to many desirous of increasing 
their knowledge in this direction, this should prove a valu- 
able help. 

The author through the medium of this work hopes to 
win the approval and encouragement of the manufacturers, 
and will feel amply repaid should his efforts tend to develop 
a deeper interest in the '' Queen of Textiles." 



THEORY OF SILK WEAVING. 



DRA WING-IN. 



With this term we designate the operation preceeding, 
the weaving, by which all the warpthreads are drawn through 
the heddles of the harness. 

The order in which this is done varies according to the 
weave and the nature of the fabric to be produced ; so we 
distinguish: 

Straight draws, 
Skip draw s, 
Point draAvs, 
Section draws. 



STRAIGHT DRAWS. 




Fig. 1 



— 8'— 



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Fig. 3 



These form the simplest and most common method of 
drawing-in. We begin with the first heddle on the left side 
of the shaft nearest to the warp-beam, then take the first heddle 
of second shaft and so on until all the shafts the set con- 
tains are used in rotation. This completes one ''draw", and 
this operation is repeated until all the warp-threads are 
taken up. 

The method of making the shaft nearest to the warp- 
beam the first, is almost universal with the silk business and 
is technically called drawing-in from back to front. 

The opposite, or drawing-in from front to rear, is used 
occasionally however, and in this case makes the first heddle 
on the left hand side of the front shaft No. i. 

The making out of the Drawing-in Draft, which must 
indicate the arrangement or the rotation in which the warp- 
threads are drawn in, can be done in various ways, of which 
we will mention the two most popular methods. The first 
is by using common designing paper, and indicating the 
rotation by dots. The horizontal rows of squares represent 
the shafts, the vertical rows the warp-threads. Fig. i shows 
four repeats of a straight dr?,w on six harness marked out 
according to this idea. A second method is to use paper 
ruled horizontally, the lines representing the shafts ; and 



— 9 — 

to draw vertical lines for the warp-threads. The latter are 
made to stop on the lines bearing the number of the shafts 
into which the respective threads are to be drawn. Fig. 2 
is such a draft, illustrating six repeats of a draw on four 
harness from " Front to Rear." 



SKIP DRAWS. 



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Fig. .3 




Fig. 4 



The draws coming under this heading are used very ex- 
tensively in silk weaving, especially for fabrics requiring a 
heavy warp and a large number of shafts. Enter first the 
odd and then the even shafts. An 8 harness draw of this 
kind, of which three repeats are shown in Fig. 3, runs as 
follows: I, 3, 5, 7, 2, 4, 6, 8. 

Fig. 4 is a 12 harness draw of the same class. 



POINT DRAWS. 



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Point draws are a combination of a regular straight draw 
from back to front and one from front to back, the first and 
the last shafts only being used once, while the rest receives 
two ends each in one repeat of the draw. Fig. 5 illustrates 
a regular point draw in 2 repeats on 10 shafts. It will be 
seen that 14 ends make a repeat ; in fact, the number of 
warp-threads required for one draw will always be double 
the number of harness less 2, hence a 12 harness regular 
point draw will require 22 warp-threads for a repeat. 

The drawing-in draft illustrated in Fig. 6 is a slight 
variation of the regular point draw ; it consists, as will be 
seen, of a draw from back to front, and also a full one from 
front to back, thereby causing a double point. 

Another change from the regular point draw is illustrated 
in Figs. 7 and 8 ; this class may be called Broken point drazvs, 
because a new draw is begun before the other one is com- 
plete. Fig. 9 also comes in this class and represents a zig- 
zag draw on 10 harness. 

The drawing-in drafts, which we have described under 
the head of '' Point draws," are used mostly to obtain the 
various pointed and zigzag effects. 



SECTION DRAWS. 




Fig. 10 



— - 12 — 



Fig. 11 



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This division of drawing-in drafts is used extensively 
in silk manufacturing; for instance in all fabrics having a 
ground warp and a binder warp, also in double-face goods, 
or where two different weaves are combined in one effect. 

One or more threads are drawn on the first section, then 
one or more on a second and third, if the harness is divided 
in so many sets. 

The following examples will illustrate the principle of 
these draws. 

In Fig. lo, shafts 1,2, 3, 4 from the first set, shafts 5 
and 6 the second, 8 threads are drawn straight on the first, 
then 2 on the second section. 

Fig. II, first set shafts i to 6 inclusive, second set shafts 
7 and 8. 

Fig. 12 is drawn end and end on two sections having 8 
shafts each. 

Figs. 13, 14 and 15, while not strictly belonging to the 
class of section draws, may however be considered under 
this heading. The idea is to draw a certain number of ends 
on one part of the harness and another group "on another 
part, be it straight point or skip, which will cause the effect 
on the cloth to be accordingly transposed or broken up. 



THE WEAVES 
AND THEIR CONSTRUCTION. 



In any woven- fabric we distinguish two systems of 
threads, the Warp or Chain, running lengthways in the 
cloth, and the Filling or Weft, crossing the former at right 
angles. 

This crossing or interlacing consists of every individual 
warp-thread being placed alternately under and over one or 
more threads of the filling system. The arrangement of 
this interlacing is technically called the Weave, and the 
variety in which the points of crossing can be distributed is 
practically endless. 

It is principally the weave that lends to a fabric its char- 
acter, influenced, of course, by the material used, the size 
and tension of the threads and the combination of the colors. 

The weaves are divided into three main classes : tJie 
Foundation weaves. In the silk business they are known 
under the following names : 

The Taffeta Weave, 
The Serge Weave, 
The Satin Weave. 

In the foundation weaves each thread effects only one 
crossing in one repeat of the weave, and the points of inter- 
lacing occur in a given rotation. A repeat in the founda- 
tion weaves comprises the same number of warp-threads as 



— i6 — 

of picks or filling threads, and if this number is 8 for in- 
stance, the weave is called an 8 shaft or an 8 harness weave. 
In marking out a weave, the warp-threads are represented 
by vertical lines, the filling by horizontal ones, or in each 
case by the space between these lines. The places where a 
warp-thread lies over the filling are marked with paint or 
simply with a cross. In a similar manner we mark out the 
chain draft, which indicates the rotation in which the shafts 
are raised. 



17 — 



THE TAFFETA WEAVE. 



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— i8 — 



This is the simplest and oldest method of interlacing. 
The odd numbers of warp-threads cross the even numbers 
after every pick ; hence of two warp-threads one will always 
go over the first pick and under the second, and the other 
end under the first and over the second pick. Taffeta 
cloth, therefore, has the same appearance on both sides, 
and in cotton and wool weaving this weave is technically — 
and properly indeed — called the Plain Weave. It has the 
smallest repeat, 2 warp-threads and 2 picks, and the ex- 
changing of warp and filling is the most frequent possible. 
The cloth thus produced is firmer and stronger than that 
obtained with any other weave. 

Fig. 16 is a taffeta on 4 shafts straight draw, the draft 
executed in the manner which we have already mentioned 
in explaining the drawing-in drafts. 

Fig. 17 on common designing paper, illustrates a taffeta 
made on 8 harness, skip draw. 

Be it mentioned that the drawing-in draft and the chain 
draft will be added throughout this work, the former over 
the weave to correspond with the respective warp-threads, 
the latter to the right of the drawing-in draft. 



— 19 — 



GROS DE TOIJRS WEAVES. 





Fig. 18 



Fig:. 19 



In this weave the working of the warp is the same as in 
taffeta, except that instead of one pick, two or more are 
inserted in the same shed. It is mostly used in selvedges, 
where it serves to give more firmness to the edge of an 
otherwise loosely woven cloth, and prevents the weaving 
ahead of the edge in a tight weave. Gros-de-Tours is some- 
times used, especially when cotton or wool filling is em- 
ployed, with a view to lay two picks nicely side by side, 
whereas a thread entered two ply with the taffeta weave will 
always receive some twist, which may disturb the perfect 
evenness of the fabric. 

Fig. 1 8 is a Gros-de-Tours with two picks on four harness 

straight through. 

Fig. 19 illustrates this weave with three picks drawn 
end and end on two sections of four shafts each. 



— 20 — 



SERGE or TWILL WEAVES. 



While the taffeta weave produces either an entirely 
smooth fabric, or one with a distinct transverse rib as in 
gros-grain, the twill weave forms diagonal lines on the 
cloth, running either from left to right or from right to left. 

To make a twill, not less than three ends and three 
picks are required, of which each thread floats over two of 
the other system and interlaces with the third. The rota- 
tion of the interlacing is always consecutive, that is, it 
moves with each succeeding pick one thread to the right (or 
to the left if the lines are to run in that direction). If warp 
and filling have the same texture, that is the same number 
of threads in a given space, the twill lines will form an 
angle of 45^ ; if the warp stands closer than the filling, the 
incline will be steeper, and in the opposite case the angle 
will approach more the horizontal. 

The weaves can be expressed in numbers, for instance : 
the 3-end twill warp effect would be marked 2-1, which 
indicates that each warp-thread goes over two and under 
one pick. 

Twill weaves are called evensided when the arrangement 
of ■" warp up " and " filling up " are evenly balanced, and 
unevejisided if either warp or filling predominate on the face 
of the fabric; the latter class is therefore subdivided in 
Warp effects and Filling effects. 

In the following a number of serge weaves are illus- 
trated, the French designations being added in some cases, 
as they are still extensively used in the trade. 



21 



Filling Effects. 



Satin de Lyon^ 2-1. 
On 6 harness straight through. 




Fig. 20 



Levantine^ 3-1. 
On 8 shafts skip draw. 




Fig. 21 



— 22 



Polonaise, 5-1. 
On 12 harness skip draw. 




Fig. 33 



Serge grosse cote, 7- 1 . 
On 8 shafts straight through. 



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Fig. 33 



— 23 — 

Serge romaine^ 6-2. 
On 8 shafts skip draw. 




Fig. 34 



Serge, 5-1, i-i. 
On 8 shafts skip draw. 




Fig. 35 



— 24 — 

Serge, 4-2, i-i, i-i. 
On 10 harness straight through. 




Fia:. 36 



Serge, 7-1, i-i, i-i, i-i, i-r 
On 16 shafts skip draw. 




Fig. 37 



— 25 — 

Warp Effects. 

Levantine^ 3-1. 
On 4 shafts straight through. 




Fiir. 38 



Serge, 5-1, I- 1. 
On 8 shafts skip draw. 



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Fig. 39 



— 26 — 

Even sided Twills. 

Surah, 2-2. 
On 4 shafts straight through. 



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Fig. 30 



Croise\ 3-3, 2-2, i-i. 
On 12 shafts straight through. 





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Fig. 31 



— 27 — 

Serge, 7-7, i-i, i-i, i-i. 
On 20 shafts skip draw. 




Fig. 33 

Pointed Twills 

in the direction of the filling and also of the warp. 




Fig. .33 

On 4 shafts point draw, weave 3-1 



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.On 6 shafts point draw, drawn as follows: 
1 8 ends from back to front and 4 ends from front to rear, 
weave 5-1- 




Fig. 35 

On 8 shafts pointed draw, weave 5-1, i-i, 



— 29 




Fig. 36 

On 10 shafts, with weave 3-3, drawn as follows 
7 threads from back to front. 
3 " " front to rear. 

6 '' '' back to front. 

2 " " front to rear. 




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Broken pointed twill^ on 8 harness. 



31 — 




Fig. 40 

On 6 shafts point draw, pointed weave 5-1, 




Fig. 41 

On 8 shafts point draw, pointed weave 5-1, i-i 



— 32 — 




Fig. 43 

Fancy twill, on i6 shafts straight draw. 



SATIN WEAVES. 



The distinct diagonal lines which characterize the class of 
weaves explained in the previous chapter are absent in the 
satin weaves ; and while the interlacing in the former is 
done in a strictly consecutive order, we endeavor to scatter 



— 33 — 

the points of stitching in the latter as much as possible, in 
order to create an entirely smooth and brilliant surface on 
the cloth. 

In all satins the number of ends in a repeat is the same 
in warp and filling. 

The lowest repeat of a regular satin comprises five 
threads of each system, and the interlacing is done in the 
following order : 

The 1st pick with the ist warp-thread, 

u 2d '' " 3d 

" 4th " '' 2d 

" 5th '' '' 4th 

Fig. 43 illustrates this weave. An examination of the 
rotation, as given above, will show that every warp-thread 
intersects two picks apart from its neighbor. The num- 
ber " 2 " is in this case what is technically known as the 
counter, that is the number which indicates the points of 
interlacing by adding it to number i and continuing so 
until all the warp-threads are taken up. 

l^he following is the rule to find the counter for any 
regular satin. 

Divide the number of harness into two parts, which 
must neither be equal nor have a common divisor. Any 
of these two numbers can be used for counting off, but 
usually the smaller one is taken. According to this rule 
we obtain a regular satin 

On 5 harness with counter 2 



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— 34 — 

The 4 harness broken twill, Fig. 53, is sometimes classed 
among the satins. 

The 6 harness satin, Fig. 54, is irregular; as a counter 
cannot be derived from number 6 by the given rule. The 
rotation generally used is i, 3, 6, 4, 2, 5. 

Regular Satins. 

5 harmless Satin, " Satin de Chine T 
Straight draw, counter 2. 




Fig. 43 



7 harness Satin, '' Satin Merveilleux' 
Skip draw, counter 2. 




Fig. 44 



— 35 — 

7 harness Satin, 
Straight draw, counter 3. 




Fig. 45 



8 harness Satin, ** Duchesses 
Skip draw, counter 3. 



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9 harness Satin. 
Straight draw, counter 4. 




Fig. 47 

10 harness Satin. 
Straight draw, counter 3. 



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— 37 — 

1 1 harness Satin, 

Skip draw, counter 5. 



Fig 49. 

12 harness Satin. 
Skip draw, counter 5. 



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-38- 



1 6 harness Satin. 



On 2 sections of 8 shafts each, drawn end and end, counter 7. 



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Fig. 51 



— 39 — 

8 harness Satin, Warp effect. 
Straight draw, counter 3. 




Fig. 53 



Irregular Satins. 



Satin Tiirc. 



On 4 shafts straight through. 




Fig. 53 



40 



Satin a la Reine. 



On 6 shafts straight draw. 



i 



i 



i 



I 



■ rl 



s 



i 



Fig. 54 



41 



DERIVATIVE WEAVES. 

1. From the TaflFeta. 

, Royale is a modification of the regular Gros de Tours, 
inasmuch as the rib line, which in the latter runs straight 
across the cloth, is broken off after a given number of warp- 
threads. These groups, which may comprise 8, I2 or more 
threads, will interlace each one pick higher than the preced- 



me one. 



Royale of 8 e7tds. 
On 2 sections of 4 shafts each. 




Fig. 55 



Velours Ottoman or Faille franqaise. 



In order to obtain a broader rib than that of Gros de 
Tours, and at the same time to lend firmness to the fabric, 
we add to the ground warp, which forms the ribs, another 



— 42 — 

or binder warp, which works continually taffeta, while the 
ground warp changes only every 3 or 4 picks for the rib. 



Faille franqaise. 

4 ends of ground on the first section of 8 shafts, skip draw. 
I " binder *' second " 2 '' 



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Fig. 56 



Velours Ottoman without a Binder-zvarp. 



In this weave, of which Fig. 57 illustrates a specimen, 
comprising 8 warp-threads and 32 picks in a repeat, the rib 
contains 4 picks. Of the 8 warp-threads, 3 float over and 3 
under the rib, while the 2 others bind tafTeta, which latter 
function is executed by 2 other threads in the next rib. 



— 43 — 









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Fig. 57 



2, From the Twills. 



One variety is obtained by interlacing the warp-threads 
alternately one or more picks behind, and then a number of 
picks ahead of their respective neighbors; so the complete 
arrangement of the points of binding in a repeat will gen- 
erally form two parallel diagonal lines. This will cause the 
twill lines to appear less pronounced than it is the case in 
the regular twill, and the character of the fabric approaches 
more that of the satin. 



— 44 — 

Satin Scrgd. 
On 8 shafts, straight draw. 




irfi 



::i 






i 



Fig. 58 

Cote Satinde. 
On 1 6 harness, skip draw. 



in 


fl IIIII 


■iiiii 


|-^---t 

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^niiiniiiiiTnnriiiiiiiii 



Fig. 59 

Rhadzimir-Surah 2-2. After a certain number of picks of 
the regular surah all the warp-threads are crossed in two's, 
thereby causing a sort of a rib or cut line across the fabric. 



— 45 — 

RJiadziviir of 4 picks. 
On 8 shafts, straight draw. 




Fig. 60 



Rhadziinir of 6 picks. 
On 8 shafts, straight draw. 




Fig. 61 



-46- 



3. From the Satin Weave. 

Satin Soldi shows a satin-like surface with a cross line 
appearance. Fig. 62 illustrates it as made on 8 shafts, 
straight draw. 






rill kn I h^ I irfi I tfii y^ 



Fig. 62 



Satin Grec is a 12 harness satin, in which a taffeta point 
is added to each place of interlacing, thus giving the cloth 
a much firmer hand. Fig. 63 represents this weave on 12 
shafts, skip draw. 



47 — 



mwliM 


lllllliyi^ir^ 

liilil 


HI 


1" " 
.l-_ 



Tig. 63 



Peau dc Sole. An 8 shaft satin with one point added on 
the right or left to the original satin spots, giving the fabric 
a somewhat grainy appearance. Fig. 64 represents a peau 
de soie on 8 shafts, straight through. 




Fi^. 64 



-48- 

Flciir de Sole. The face is a satin de Lyon (2-1 twill), 
with a backing interlaced on the 12 shaft. satin principle, 
Fig. 65, on 12 shafts, skip draw. 




Fig. 65 



— 49 



CAISNELE and REPP WEAVES 



are in their construction related to the taffeta, and are used 
rnostly in the form of stripes as an additional ornament to 
a fabric. The threads going into the composition of these 
effects exchange continually from taffeta interlacing to 
floating over a certain number of threads, and must be in- 
troduced either in warp or filling close enough to make the 
floats cover up the taffeta work entirely, and thus enable 
the material used to show up with the full brilliancy it pos- 
sesses. 

Cannele effects can be produced in two distinct ways. 
One is to let every individual thread work alternately taf- 
feta and float, while in the other method one thread weaves 
always taffeta, and a second thread is used for the cannele 
exclusively. These latter threads must come from a sep- 
arate warp, which is introduced to embellish the ground or 
taffeta part of the fabric. 

The floating threads can either stitch all on one pick 
and so form a continuous cut line, or be divided in groups, 
of which one will bind in the middle of the floats of the 
other group. The following designs show both the face 
and backside of the respective weaves. 



— 50 — 

Alternating Cannclc of 6 picks. 
On 4 shafts, straight through. 




Cannele (2 beams). Over 3 picks, interlacing on every 
fourth pick, drawn end and end on 2 sections of 4 shafts each. 




Fig. 67 



— 51 ~ 

Cannclc over 5 picks, binding on the sixth, but every 
second thread advanced 3 picks (to the middle of the float 
of the first thread), drawn end and end on 2 sections of 4 
shafts each. 




Fig. 68 



— 52 — 

Cannelc arranged in groups of 8 threads, floating over 6 
picks and binding on the seventh and eighth, drawn on 2 
sections, with 4 shafts in first and 2 in second section. 




iTiiB: 1^:1:0: iifl: en: lii: 



Fi§. 69 



Repp on 8 shafts straight through. Rotation of filling, 
I pick taffeta, i pick float (rib). 




Fig. 70 



— 53 — 

Repp of 8 threads, on 2 sections of 4 shafts each, 8 ends 
per section. 



^ 



5ea 



i 



Erp 



^ 



I i : I 






^§ 



5S 



r^TT 



trm 



mMmM 



m )w :■' .■ 

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V «-:■..■ ' ■ 
iMHii'i' m':i'ji<i 

■.,■!■')■' 




Fig. 71 



Repp of 5 threads, binding on the sixth ; every second 
pick binds on the middle of the first pick. On 6 harness 



straight draw. 




Fig. 72 



54 



Repp in groups, floating over 6 ends and binding on the 
seventh and eighth on 8 shafts straight draw. 




Fig. 73 



55 — 



DOUBLE FACED FABRICS. 

In this class we find either two systems of warp or of 
filling so combined that only one will be visible on either 
side. The color on one side is generally different from the 
other, and so may the interlacing be of a different nature 
on face and back. In the latter case great care must be 
exercised not to allow the weave on one side to disturb the 
one on the other, and as a rule the points of interlacing of 
the first warp or filling system are placed as much as pos- 
sible in the middle of the floats of the second. This will 
prevent either color or weave to be seen on the opposite 
side, as the floats of one side will naturally lay themselves 
over the binders of the other. The number of ends in a 
repeat of the two weaves must either be alike or one a 
multiple of the other. 



Warp Effects. 



Levantine on 8 shafts straight draw, 




Fig. 74 



56 



Serge 6-2 on 2 sections of 8 shafts each. 



i 



I 



I 



jii 



■I 




Fig. 75 



8 shaft Satin on 2 sections of 8 harness each. 




Fig. 76 



57 



12 shaft Satin on 2 sections of I2 shafts each. 




Fig. T7 



Cannele of 8 picks on 2 sections of 4 shafts each. 




Fig. 78 



-58- 



Filliug Eifects. 



Serge 5-1 on 6 harness straight draw. 




Fig. 79 



10 harness Satin on 10 shafts skip draw. 



ff 


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Fig. 80 



-59 — 



Repp on 2 sections of 4 shafts each, 8 threads per section. 




Fig. 81 



— 6o — 



PEKINS. 



With this name we designate fabrics in which stripes of 
a different interlacing run in the direction of the warp. In 
combining these weaves it is advantageous to have them 
contrast distinctly, for instance a short weave such as taf- 
feta or gros de Tours, with a longer and looser one such as 
satin, serge or cannele, also changes from warp to filling 
effects. Care must be taken to arrange the joining of the 
two weaves so that the last thread of one weave will cross 
the first thread of the other. This will prevent the threads 
from either stripe to slide over into the other, and so make 
a clean cut line. 



Pekin, A stripe of 

2 dents of 8 ends each, 8 shaft Satin, on 8 shafts straight draw. 
12 *• 2 " Taffeta " 4 " " " 




Fig. 8J8 



— 6i 



Pekin. A stripe of 

12 ends Cannele of 6 picks on ist section of 4 shafts. 

12 " Repp " 6 threads on 2d and 3d section of 2 shafts each. 




Fig. 83 



— 62 ~ 



Pekill. A stripe of 



lo ends 5 leaf Satin on the ist section of 5 shafts straight draw. 
4 " Taffeta " 3d " 2 " 

18 " Serge 3-1, i-[ " 2d " 6 " " " 




i 



Fig. 84 



-63 



BAYADERES. 

While pekins are formed by warp stripes, bayadere shows 
us stripes of different weaves running in the direction of the 
filling. The rules given in the previous chapter as to the 
joining of the weaves will also apply here. The warp 
which was raised on the last pick of the weave must stay 
down wherever possible on the first pick of the following 
weave. The number of shafts employed must go up evenly 
in the repeat of each one of the weaves that go into the 
make up of the bayadere. 



Bayadere. 



A stripe of 24 picks Gros de Tours 
'' 8 "8 shaft Satin, 



> on 8 shafts straight through. 



:<-»» 




I ■ 1 1 ■ ■ 

■iSill" 



Fig. 85 



-64- 



Bayadere. 



A stripe of i8 picks 6 shaft Satin ' 

'' " 6 '' Serge 5-1, v on 6 shafts straight draw. 
" 4 '^ Taffeta, ) 




Fig. 86 



-65 



CHECKS AND PLAIDS. 



If pekin and bayadere stripes are combined, we obtain 
checked fabrics, and of these an endless variety and pleasing 
effects can be produced with the aid of suitable color com- 
binations. 

Check 

of i6 threads and 12 picks of the 4 end broken twill, 
and 16 " " 12 " '' Royale of 8 threads, 

drawn on 4 sections of 4 shafts each. 




Fig. 87 



66 



Check 



of 20 threads and i6 picks of 8 shaft Satin, 
'' 20 " '* i6 *' ** Taffeta, 

4 " '* Surah 3-1, 
drawn on 2 sections of 8 shafts each. 




■ ■■■■■■■I i^ii 



Fig. 88 



DECOMPOSITION. 



Under the name of Disposition we comprise all those 
points and details which we must ascertain before we can 
proceed with the construction of a fabric. They are : 

1. The Treave. 

2. Leng^tli and width of the cloth. 

3. The stock and the dyeing" tliereof. 

4. Reed calculation (number of dents and ends per 
inch and total number of dents required). 

5. Drawing-in the warp in harness and reed. 

6. Texture and arrangement of warp (warping 
ticket). 

7. Arrangement of harness. 

8. Reduction of filling. 

9. Calculation of wari> and filling. 

10. Finishing. 

11. Calculation of cost. 



— 68 — 

I. THE WEAVE. 

If a given sample is to be reproduced or imitated, it 
must be analyzed, and the following hints will greatly facil- 
itate this operation to the beginner. 

Cut the sample straight on two sides, and draw out a 
number of warp and filling threads until there is a small 
fringe of perhaps J^ of an inch. This will allow a thread to 
be raised a little for examination, without danger of its 
falling out of the fabric. In most cases it is easier to dissect 
the filling side, that is the interlacing of each warp-thread 
in the threads of the filling system. With the help of the 
microscope or counting glass we can easily determine over 
and under how many picks that thread passes, and the 
points of interlacing are accordingly marked on designing 
paper. This being done for at least the length of a repeat 
warpways, we take it out and examine the following thread, 
and so on until the repeat fiUingways is complete. It is 
advisable to ascertain how many picks ahead or back of the 
first examined thread the next following one binds before 
taking the former out. 

A knowledge of the construction of weaves as explained 
in the foregoing chapters will enable us to determine the 
weave of a simple pattern by merely raising a warp-thread 
with a needle on any point of interlacing and counting off 
how many picks apart from this place it makes an im- 
pression. 

2. LENGTH AND WIDTH OF THE FABRIC. 

To the length and width which the finished product is 
to have, we must add a certain allowance for shrinkage and 
taking up of warp during weaving. It may differ from one 
to ten per cent, according to the texture and weave of the 
fabric, and can be ascertained with sufficient accuracy by 
stretching out and measuring a thread of warp and filling 
and comparing their length with the respective measure- 
ments of the sample to be reproduced. 



-69 



3 THE STOCK AND ITS DYE. 

Under this heading we must give the particulars as to 
nature, tzuist, quality and size of the silk, and the directions 
for the dyeing, whether brigJit or soitplc, and in what colors, 
also whether to be weighted or not. 

The size is generally ascertained (in practical work) by 
comparing it with other silk of which the exact count is 
known. Another method is to count the number of cocoon 
threads which a thread of the sample contains, adding to 
that y^ or ^, according to the quality of the silk; the re- 
sult will be the count in deniers. To obtain it in drams, 
divide the latter number by 17,^ as i dram is equal to 17,^ 
deniers. 

Suppose we find 20 cocoon ends in a thread of silk : 
add ^, and we have 26V3 deniers, which divided by 17,2 
make i,^ drams. 

As silk is always more or less uneven, it is safer to count 
the cocoon fibres of several threads and to take the average 
thereof. 

It requires the experience of years to judge with any 
degree of certainty as to the origin and quality of silk, 
whether it be classical, extra, sublime, etc. 

There are machines wherewith to ascertain exactly the 
twist, that is the number of turns the silk has received in 
the throwing process. 

In the dyeing we distinguish two great classes, of which 
the names themselves give a good definition. " Bright" has 
a brilliant lustre, while '' souple " has more of a dull, sub- 
dued appearance. To find out whether the silk has been 
weighted in the dyeing process, we may compare it with 
other silk of which the exact conditions are known, or we 
may burn a small quantity of it. Unweighted silk does 
not burn readily and leaves a residue ot white ashes, while 
heavy weighted silk burns lively, leaving black, charry ashes. 



70 — 



4 REED CALCULATION. 

We count the number of repeats of the weave in a given 
space, generally % or yi inch, and multiply this with the 
number of threads one repeat contains, which gives us the 
reduction of the warp. 

Suppose we had a taffeta, which, as we know, has 
only 2 ends to a repeat, and counted 30 interlacings per J^ 
inch on one pick ; we would have 60 threads per y^ inch or 
240 per one inch. In this case the reed may be 80 by 3 or 
60 by 4. 

Another instance : In an 8 shaft satin we count 10 
warp-threads, which bind on the same pick in ^ inch ; this, 
multiplied by 8, equals 80 ends per J^ or 320 per one inch ; 
the reed will be an 80 with 4 in a dent or a 64 by 5. 

In short, the number of the reed is found by dividing 
the number of warp-threads that are to go in one dent, in 
the number of ends per inch. Sometimes, the reed marks 
are clearly visible in a sample by holding the latter against 
the light. Silk fabrics move with very few exceptions 
within the limits of 50 and 90 dents per inch. 

To learn the full number of dents required for the width 
of the cloth, simply multiply the dents per one inch with 
the width, adding a certain allowance for shrinkage. The 
edges, of course, must also be taken in consideration, and" 
very often the dents that are taken up by the latter are 
used to counterbalance that shrinkage. 

5- DRAWING-IN THE WARP LV HARNESS 

AND REED. 

Here we must specify the number of dents that contain 
the same number of ends, and whether the latter are single 
or double, also the number of shafts and the method of 
drawing-in. 



71 — 



6. WARPING TICKET. 

To make out the warping ticket, we need to ascertain 
the total number of ends, whether leased single or double, 
and the arrangement of the colors. 

7 HARNESS ARRANGEMENT. 

This is governed by the number of ends to be drawn in 
and the necessary shafts. If we have, for instance, lOO 
threads per inch to be drawn on 4 shafts, we must give each 
shaft 25 heddles per inch. There are generally between 25 
and 45 heddles per inch on one shaft. 

8. REDUCTION OF THE FILLING. 

Here we state the number of picks per inch, give direc- 
tions as to doubling, if such is necessary, and if more than 
one color or shuttle is used, the rotation thereof. 

9. CALCULATION OF WARP AND FILLING. 

The system adopted in this country for specifying the 
size of silk is based on the weight in drams (avoirdupois) of 
a skein containing 1000 yards. A skein, thus weighing 5 
drams, is technically called 5 dram silk. The number of 
yards of i dram silk to a pound must accordingly be 
256000. The formulas for figuring the amount of silk re- 
quired for a piece of cloth are as follows: 

Warp Calculation. 

Multiply: Number of ends x length x count 



Divide by : 1000 yards X 256 drams 



= lbs. 



Filling' Calculation. 

Multiply : Picks X xply X width X length of piece X count 

■ = lbs. 

Divide by : looo yards x 256 drams 

The result in both cases will be in pounds. 

The system of grading the silk which is in vogue in 
Europe, and which is employed by a number of mills on 
this side, is as follows: 

I skein of 500 meters, weighing 0,05 grams=i denier international 
or I " 476 " '' O5O53 " =1 '' Turin system 

or I " 476 " " 0,051 " =1 " Milan " 

The warp calculation, taking the international denier, 
would run : 

ends in warp x length x denier x 0,05 gram 

divided by : 500 meters 

for the filling : Picks per meter x xply x width x denier x 0,05 gram 
divided by : 500 meters 

Result in metric weight, kilograms and grams. 

10 FINISHING. 

Give directions as to the process of finishing to which 
the .goods are to be subjected, whether to be pressed, cal- 
endered, sized, moired, etc. 

II. CALCULA.TION OF COST. 

If all the foregoing conditions are ascertained, and a 
sample or a piece of the fabric executed, it remains to the 
manufacturer to determine the exact figure at which he can 
produce the article. That this must be done with great 
accuracy is naturally of the utmost importance, and the 



— 71 — 

calculator must know in the first place the raw stock prices, 
and also be acquainted with the details of the manufactur- 
ing process and the rates of wages paid therein. As a rule, 
the manufacturer establishes a scale of prices covering all 
the items of labor cost, mill expenses, etc., and uses this as 
a basis for his calculations. 

A rule or formula for this operation cannot very well be 
given', as the methods vary in almost every establishment, 
each choosing the one best adapted to its ideas or dictates 
of circumstances and conditions. 



DISPOSITION 1. 



Taffeta glac6 




.■ ■ K ■' '■' ■ ■'. ■».■«.■ w ii ■' «; :■ ■■■■■■■■■■■■■ 

■ ■ ■.■!.» ■'.■' ■ ■ .■« « ■'■..■ ■ ■ m.OUHHMM 



i ^ ^ gV/yj^^uVi 






w ■!■''■ ■'■■!■ ■' B B I ■' ■ m\ m ■■■■■■■■■■■■■■ 



Fig. 89 



-76- 

Leilg'tll and Width. — One piece loo yards long, i8^ inches 
wide. 

Stock and Dye. — Warp. — Ital. Organ., 24/26 deniers = 1,47 

drams brown bright, ^'^/le oz. 
Filling. — Japan Trame, '^^jzQ deniers = 1,65 
drams gold bright, ^^/le oz. 

Reed Calculation. — Per i inch, 70 dents at 3 single ends. 

'' 18^ " 1313 " 

add 13 " = 1% for shrinkage. 



Total . . . 1326 dents. 

Drawing-in. — ist edge, 9 dents at 3 double ends. 
Ground, 1308 " at 3 single " 
2d edge, 9 " at 3 double " 
on 6 shafts straight through. 

Warping Ticliet. — ist edge, 27 double ends, brown. 

Ground, 3924 single '' " 

2d edge, 27 double " " 



Total . . . 4032 single ends. 
Length of warp no yards, including 10% for take up. 

Harness. — 6 shafts, 3978 heddles per 19 inches. 

Reduction of Filling. — Per i inch, i^^io^ picks, 2 ends. 

Warp Calculation.—? lbs. = 4032 ends. 

I end = no yards. 
1000 yards = 1,47 drams. 
256 drams ^= i lb. 

100 := 104 (4% waste). 

4032 X iiox 1,47 X 104 

= 2,65 lbs., or 2 lbs. 10,4 ozs. 

loooX 256X 100 



— 77 — 

Filling- Calculation. — ? lbs. = loo yards. 

I yard = 2i^ inches. 
I inch = 1 02 ) picks. 
2 f ends. 
I pick =19 inches. 
36 inches := i yard. 
1000 yards = 1,65 drams. 
256 drams = i lb. 

100 = 108 (8% waste). 

100 X 36 X 102x2 X 19 X 1,65 X 108 

=2,73 lbs., or 2 lbs. 11,7 ozs. 

36x1000x256x100 



DISPOSITION 2, 



Surah 3-1. 




Fig. 90 



— 8o — 

Leilg^th and Width. — i piece 50 yards long, 23}^ in. wide. 

Stock and Dyeing. — Warp. — Ital Organ., 1,30 drams = 20/24 

deniers black bright, *°/5o% = ^2/24 ozs. 
Filling. — Cotton No. 120/2 black. 

Reed Calculation. — Per i inch, 80 dents at 2 single ends. 

" 231^ " 1880 " 

add 36 " = 2% for shrinkage. 



Total . . . 19 16 dents. 

Drawing'-in. — ist edge, 8 dents, 2 double ends. 
Ground, 1900 " 2 single " 
2d edge, 8 " 2 double " 
on 4 shafts straight draw. 

Warping" Ticket. — ist edge, 16 double ends, black. 

Ground, 3800 single 
2d edge, 16 double " 



u u 



Total . . . 3864 single ends. 
Warp 54 yards long ^ 8% for take up. 

Harness. — 4 shafts, 3832 heddles per 24 inches, 
I " 40 " " I " 

Reduction of Filling. — Per i inch, 120 picks, i end. 



Warp Calculation. — ? lbs. = 4264 ends. 

I end = 54 yards. 
1000 yards == 1,30 drams. 
256 drams = i lb. 

100 = 104 (4% waste). 

3864 X 54 X 1,30 X 104 

— - i^io lbs., or I lb. 1,06 oz. 

1000 X 256 X 100 



— 81 



Filling^ Calculation. — ? lbs. = 50 yards. 

I yard = 36 inches. 
I. inch = 120 picks. 
I pick = 24 inches. 
36 inches = i yard. 
840 yards = i skein. 
(No. 120/9) 60 skeins ^ i lb. 

100 ^ no (10% waste). 

50 X 36 X 120 X 24 X no 

= 3,14 lbs., or 3 lbs. 2,24 ozs. 

36 X 840 X 60 X 100 



DISPOSITION :j. 




FI|C. 01 



84- 



Leiig'th and Width. — One warp 300 yards long, 10 pieces 
of 60 yards 23 inches wide, 2 pieces in width, with one 
cut edge. 

Stock and Dyeing. — Warp. — Ital. Organ., i^Vioo drams, 

black, bright, 20/22 oz. 
Filling. — Jap. Tram., iVioand 2V10 drams 
black, souple, 40/44 oz. 
We should use for this fabric i end filling, 5 thread, 
4V10 drams, but as we have none of this size on hand, we 
take: i end, 2 thread, 1^/10 drams, and i end, 3 thread, 
2V10 drams. 

Reed Calculation, — i inch, 66 dents, 4 single ends. 

46 '- 3036 " 



54 



(i^Vo shrinkage). 



Total . . . 3090 dents. 


•awing-in.— , -, i 2 

istedge, 1 




dents 


,6x2, black. 
4X2, white. 


Ground, 15 14 


a 


4X1, black. 


( I 


a 


2X4, " 


Cut edge, j 3 


a 


empty. 


( I 


a 


2X4, " 


Ground, 15 14 


a 


4X1, black. 


2d edge, I ^^ 


a 


4X2, white. 
6x2, black. 



Satin on 8 shafts, straight draw. 

Cross-thread for split edge on 3 shafts, see design. 



Warping Ticket. — p. 

Ground, 
Edge, I 



12/2 black, 
52/2 white, 
6056/, black, V twice over. 



52/2 white, 
12/2 black, J 

12208 ends black 
416 

2/4 black for ground thread, 300 yards long 
2/4 " " whip " 360 " " 

each one on a separate little roll. 



318 yards long, 
white, I ^ ^0^ shrinkage. 



-85- 

Harness. — 8 shafts, 12368 heddles, 47 in. 

for the spHt edge 3 shafts, of which one has only half a heddle. 

Filling. — Per i in., 80 picks, 2 ends (as described before). 

Warj) Calculation. — ? lbs. = 12224 ends, black (416 white). 

I end = 318 yards. 
1,000 yards = 1,55 drams. 
256 drams = i lb. 

100 = 104 (4% waste). 

(416) 12224 X 318 X 1,55 X 104 

= 24,477 lbs. org. black. 

1000 X 256 X 100 _ ^^g^^ ,, ,, ^j^.^^_ 

Fillings Calculation. — ? lbs. = 300 yards. 

I yard = 36 inches. 
I inch = 80 picks. 
I pick = 47 inches. 
36 inches = i yard. 
1000 yards = 4,5 drams. 
256 drams = i lb. 

100 = 108 (8% waste). 

300 X 36 X 80 X 47 X 4,5 X 10^ 



^6 X 1000 X 256 X 100 



= 21,414 lbs. 



DISPOSITION 4. 



Armure Satin6e. 




Fig. 93 



— 88 — 

Lieng'tll and Width. — One piece 60 yards long, 19 in. wide 

Stock and Dyeing,— Warp. — Jap. Organ., 1,48 drams, black 

bright, 18/20 oz. 
Filling. — 3 threads Jap. Tram., 2,95 drams, 
black bright, ^^/gg oz. 

Reed Calculation, — Per i inch, 60 dents x 4 single ends. 

" 19 " 1140 " 

32 " (3% for shrinkage) 



Total . . . 1 172 dents. 

DraTving'-in. — ist edge, 12 dents x 4 double. 
Ground, 1148 " x 4 single. 
2d edge, 12 " X4 double, 
on 12 shafts straight through, 
or on 6 shafts as design indicates. 

Warping^ Ticket. — ist edge, 48/2 black. 

Ground, 4592/1 " 
2d edge, 48/2 " 



Total . . . 4784 single ends 64 yards long 

= 6%% for take up. 

Harness. — 6 shafts, 4688 heddles per 19^^ inches. 
I " 40 " '' I 

Reduction of Filling-. — Per i inch, 104 picks, 2 ends. 

Warp Calculation. — ? lbs. = 4784 ends. 

I end = 64 yards. 
1000 yards = 1,48 drams. 
256 drams = i lb. 

100 =: 104 (4% waste). 

4784 X 64 X 1,48 X 104 

= 1,84 lbs., or I lb. 13,44 ozs. 

looox 256X 100 



- 89 - 

Filling Calculation. — ? lbs. = 60 yards. 

I yard = 2>^ inches. 
I inch ^ 104 ) picks. 
2 ) ends. 
I pick = igy2 inches. 
^6 inches = i yard. 
1000 yards = 2,95 drams. 
256 drams = i lb. 

100 = 108 (8% waste). 

60 X 36 X 104 X 2X 19,5 X 2,95 X 108 

= 3,03 lbs., or 3 lbs. 0,48 ozs. 

36x1000x256x100 



ii 



DISPOSITION 5. 






Printed Armure. 



j< -5^ 






1^ -^H 




^=^«j 



<^ 



1M' 

.-'.■.•Se'x':Si:>l-:-ii- ' 



?. <kf 



•■■< 



4 ;^ 




Fig. 93 



— 92 — 
Length and Width. — One piece 50 yards long, 18^ in. wide. 

Stock and Dyeing,— IVarp. — Ital. Organ., 1,50 drams, 24/26 

deniers, white bright, pure dye. 
Filling. — 5 thread Ital. Tram., 4 drams, 
^^/i4 deniers, white bright, pure dye. 

Reed Calculation. — Per i inch, 52 dents, 2x2. 

" 18^ " 962 " 

20 " (2% for shrinkage) 

Total . . ■ . 982 dents. 

Drawing-in. — ist edge, 7 dents, 4x2 gros de Tours. 
Ground, 968 " 2x2 armure. 
2d edge, 7 " 4X2 gros de Tours. 
Armure ground on 12 shafts straight draw. 
Gros de Tours edges on 4 shafts. 

Wari)ing' Ticket. — Ground warp, 54 yards. 

1936/2 white. 
Gros de Tours edges, 55 yards. 
2 X 28/2 white,on separate rolls. 
Total . , . 3984 single ends. 

Harness. — 12 shafts, 1936 heddles, per 18^^ inches. 
I " 82^ " " I " 

4 shafts Gros de Tours edges, with 28 heddles on each side. 

Reduction of Filling.— Per i inch, 96 picks, i end. 

Warp Calculation.— ? lbs. =3984 ends. 

I end= 54 yards. 
1000 yards^i,5o drams. 
256 drams = I lb. 

100=104 (4% waste). 

3984x54x1,50x104 

=Tj3i lbs., or I lb. 4,96 ozs. 

looox 256X 100 



— 93 ~ 

Filling Calculation. — ? lbs. =50 yards. 

I yard = 36 inches. 
I inch = 96 picks. 
I pick=i9 inches. 
^6 inches = I yard. 
1000 yards=4 drams. 
256 drams=i lb. 

100 = 108 (8% waste). 

50X 36 X 96 X 19X4X 108 

= 1,54. lbs., or I lb. 8,64 ozs. 



;^6x 1000 X 256 X 100 



After weaving, the small flower effects have to be printed 
on the cloth. 



DISPOSITION 6. 



Pekin : 8 shaft Satin and Repp. 





Fig. 94 



-96- 



Leng'th and Width. — i piece loo yards long, 201^ in. wide. 

f Ital. Organ., i^^/ioo drams, black 
I bright, 20/22 oz. 

Stock and Dyeing. — Warp.{ Ital. Organ., ii^/ioo drams, sky 

I bright, pure dye. 

(^Cotton No. 100/2^ scarlet. 
Fillijig. — 3 threads Jap. Tram., 2^/10 drams, 
scarlet bright, i^/ie oz. 

/" 6x I, black satin. 
Keed Calculation. — Per i inch, (i^ dents, < 6x2, colored " 

(2x1, " repp. 



20 



1377 
23 



(i}4% for shrinkage) 



Total 



1400 dents. 



DraTving-in. — ist edge, 7 dents, 6x2 satin. 



Ground, 34 

2 

10 

2 

lO 

2. 

39 

5 
4 
5 

15 

2 

15 

5 
4 

5 

5 
28 

2d edge, 7 



I " I t 
I repp, j ( 



6x1 
6x2 
6x1 

2X1 repp 
6x1 satin. 
6x2 " 
6x1 " 
2x1 repp. 
6x1 satin. 
2 X I repp. 
6x1 satin. 
2x1 repp. 
6x1 satin. 
2 X I repp 
6x1 satin 
2X1 repp. 
6x1 satin. 
6x1 " 
6x2 " 



^ 



wice 
over. 



twice 
over. 



:} 



twice 
over. 



7 times 
over. 



Satin on ist section of 8 shaft skip draw. 
Binder '' 2d '' " 2 " 
Repp " 3d " '' 2 " 



97 



On each side of every repp stripe, two ends of the satin warp 
must be entered on the 2 binder shafts (2d section), to prevent 
the ends of the satin to shde over into the repp stripes. 



Warping" Ticket. — I. Beam satin, 106 yards. 

ist edge, 42/2 black. 
Ground, 204/1 " ^ 
12/2 sky. 
.180/1 black. 

12/2 sky. 
234/1 black. 1 7 times over. 
48/2 sky. 
180/1 black. 
48/2 sky, 
30/1 black, j 

168/1 " 
2d edge, 42/2 " 



6132 single ends black. 
1680 " " sky. 



II. Beam repp, no yards. 

4/1 scarlet.^ 

4/1 " 

lo/i '' 

lo/i " 

1 0/1 " 1 7 times over. 

4/1 " 
1 0/1 " 

lo/i '' 
lo/i " 

504 single ends scarlet cotton. 

This warp has to be beamed in stripes. Make out a diagram 
for the warper the same as shown in Fig. 95. 



-98- 






^^Jixx/i^ ChAx 



I I I * I 



\no^M^)(d^/J^A 



' • ; 1 1 



'0 



66 3/, 



% „ JfK/txAdl^ 



I t 



> 2 



/• 



^S :!, 



^LylA/ 



Se^/i 



XL 



V 

Fig. 95 

Harness. — Fig. 95 shows how to make a diagram of a harness 
for a Pekin. The heddles are marked per one shaft. As 
the repp stripes are only small ones, we use for the satin a 
full harness, that is one without open spaces for the repp 
stripe. All together we have in the satin warp 6888 single 
and double ends to draw in; of these 252 ends are used for 
binders, on both sides of the repp stripes. Thus remain for 

8 shafts, ddT^d heddles per 20)^ inches. 
I " 40 " " I " 

Reduction of Fillinsr.— Per i inch, 144 picks, i end. 



Warp Calculation.— ? Ibs.=6i32 ends (1680 ends sky). 

I end = To6 yards. 
1000 yards=i,35 drams (sky 1,15 drams). 
256 drams ^ I lb. 

100 = 104 (4% waste). 

6132X106X1,35X104 1, o ^ 

_ =3.56 lbs. for black, or 3 lbs. 8,96 ozs. 

looox 256X 100 

1680X io6x i,i5X 104 



loooX 256X 100 



= 0,83 lbs. for sky, or o lbs. 13,28 ozs. 



— 99 — 

? lbs. = 504 ends. 

I end = iio yards. 

840 yards=i skein. 

(No. 100/2) 50 skeins=i lb. 

100=104 (4% waste). 

504X iiox 104 

= 1,37 lbs. scarlet, cotton, or i lb. 5,92 ozs. 



840 X 50 X 100 



Filling Calculation.— ? lbs.= 100 yards. 

I yard ==36 inches. 
T inch= 144 picks. 
I pick = 2i inches. 
36 inches = I yard. 
1000 yards = 2.8 drams. 
256 drams=i lb. 

100=108 (8% waste). 

100 X 36 X 144x21 X2,8x 108 

=^3)57 lbs., or 3 lbs. 9,12 ozs. 

36 X 1000 X 256 X 100 



KNOWLES* LOOM* WORKS 

Worcester, Mass. and Providence, R.I. 

Builders of 

OF 

^A^EAVING MACHINERY 




The above cut shows our Box Loom for Weaving Silk Fabrics. 



WRITE TO TJS FOR CATALOGUE WHEN IN WANT 
OF ANY VARIETY OF LOOMS. 



INDEX. 



Page. 

Drawing-in y 

Straight draw y 

Skip " 9 

Point " Q 

Section " j j 

The Weaves and their Construction ic 

The Taffeta Weave 



The Gros de Tours Weave i, 



17 

9 

The Serge Weave . 20 

The Satin " ^2 

Derivative Weaves 41 

From the Taffeta 4^ 

" " Twill 43 

" Satin 4y 

Cannele and Repp Weaves 40 

Double faced fabrics cc 

Pekins 5q 

Bayaderes 6^ 

Checks and Plaids 6 c 

Decomposition 5y 

Taffeta Glace y c 

Surah3-i y^ 

Duchesse g , 

Armure Satinee 3y 

Printed Armure 01 

Pekin g c 



ERRATUM. 



Page 84, Drawing- IN, Cut edge, should read : 

/^ 13 dents, 4x2 white. 
.6x2 black. 

2X4 " 
empty. 

2x4 black. 
6x2 " 
4X2 white. 



2 
I 

Cut edges, \ 3 
I 

2 

V13 



In order to manufacture a first class quality of goods, excellent 
looms are essential, therefore it is in the interest of everyone en- 
gaged in the manufacturing of silks to be thoroughly posted as to 
the merits of the different systems of looms, the Knowles loom in 
particular. 



Telephone 198 






r- 





W\ 



#^ 



hi 




'l^^ 



# 



li^ 



62 Romaine Bld'g, 

PATERSON, N. J. 



KNIPSCHER & MAASS 

SKEIN SILK DYERS 



In All Lines of Black and Colors. 



ESPECIALLY HEAVY WEIGHTED COLORS 

In All Shades. ' 



Foot of Mill and Van Houten Sts,, PATERSON, H. J. 



L. D. TELEPHONE, 432 



P. O. B., 507 



FRANZ ULRICH 

MANUFACTURER OF ALL KINDS OF 

REEDS, HARNESSES, LINGOES, MAILS 

Shuttles, Quills and Ribbon Blocks 



DEALER IN 





AND SILK WASTE 

Barnert IVLill, PATER50N, N. J. 

TELEPHONE CALL, 295 
D. F. CONKLING, Sec. and Hanager. 



ACME SILK FINISHING CO. 




Trade Mark. 



U e, 1 e d. o n , 

NEV/ JERSEY 



.**H*.^ 






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